I’m excited to report that I’ve spent the first few weeks of 2018 in Wakanda.
Actually, my trip to the fabled African nation began just before Christmas, when I started interviewing for my upcoming article on Black Panther, due to be published in Cinefex 158, out April.
I have a confession. Before starting work on this article, my knowledge of the Black Panther character was limited to what I’d seen in Captain America: Civil War, which marked the superhero’s debut in the Marvel Cinematic Universe. Having generated 55,000 words of transcript from over 20 interviews, I’m now considerably more informed!
Early in the process, I spoke at length with Marvel visual effects supervisor Geoff Baumann and the film’s production designer Hannah Beachler. My journey then took me on a tour of companies through the US, Canada, Scandinavia, Australia and all points between, chatting with the visual effects teams at Method Studios, Industrial Light & Magic, Scanline, Luma, Trixter, Rise, Double Negative, Ghost and Storm.
En route, I took in the previs department at Digital Domain, and the concept, animation and motion graphics teams at Perception and Cantina Creative. Having just spoken with Marvel stereo supervisor Evan Jacobs, I’m now mopping up all things 3D with Stereo D and Legend 3D. Oh, and not forgetting the ever-charming makeup department head, Joel Harlow. Phew!
Only one piece of the puzzle remains, as the Marvel team tries to hook me up with the film’s director, Ryan Coogler. He’s currently just about the busiest man on the planet as he springs from one Black Panther press junket to the next, but it looks like we’re homing in on a slot this weekend. Fingers crossed.
Towards the end of my chat with Hannah Beachler, she said something about the production design that stuck in my head: “[Ryan and I] wanted this to be something that people hadn’t seen before in the Marvel Cinematic Universe.” Almost every review I’ve read confirms that Black Panther does indeed look fresh and different, so I’d say they succeeded in that ambition. That’s a rare thing, especially in an industry ruled by franchises, and something to be celebrated.
Speaking of celebration, Cinefex 158 is exactly that – a special edition celebrating 10 years of the Marvel Cinematic Universe. Not only will our April issue take you deep into Wakanda, but it will also bring you an overview of the creative and technological highlights of all 17 films released by the studio so far.
And that’s not all. This special issue will also contain Jody Duncan’s exclusive interview with Marvel Studios executive producer and head of physical production, Victoria Alonso, discussing the studio’s origins, its hits and misses, and its plans for the future. We’ll also have an interview Ryan Meinerding, Marvel’s head of visual development, plus key member of his team, in Joe Fordham’s in-depth article on the conceptual roots of all things Marvel.
As if that wasn’t enough, I’ve put together a roundtable discussion in which around 70 visual and practical effects professionals look back over the past decade, chew the fat on just what it’s like to work on a Marvel film, and share some of their favourite Marvel movie moments. If ever a Cinefex assignment was like herding cats, that was it!